Uit de BSC formaten test blijkt hoe belangrijk de Digital Intermediate (DI) fase is in het bepalen van de look van het materiaal. Over die invloed een aantal uitspraken van DoP's Dante Spinotti, ASC/AIC (filmrot die is overgestapt op digtaal opnemen) en Bruno Delbonnel, ASC/AFC (die zweert bij film). De fragmenten komen uit interviews die we met hen hadden op Camerimage, afgelopen winter, voor het NSC boek over beeldtaal, dat later dit jaar zal verschijnen.

Spinotti (de filmrot die is overgestapt op digitaal opnemen) geeft aan hoe bepalend de DI is voor het scheppen van de look van de (digitaal gedraaide) film: "You have to go straight ahead and get the best possible look in your digital technology."

Dante Spinotti: "I think it’s wrong to try to imitate film. And the way I shoot it, which I learned from Michael Mann, is that once you go in the DI, you try to achieve the best possible look for your film in the digital files. Then, after that, you will have film match the digital files. But you have to go straight ahead and get the best possible look in your digital technology.

When I saw "Festen" that was sort of an eye-opener. The fact you can have this small camera moving around so quickly. You have the actors that don’t go back to their trailer but stay there. And the ingenuity of this camera. (But) we still need to construct images. So, it’s still a lot of work. In the end it is about what you want to do for that particular story. I am chasing the image and not chasing the technology."

Dante Spinotti foto: Bart van Broekhoven)

Delbonnel (die zweert bij film) stelt scherp hoe belangrijk het voor hem is om tijdens de post fase invloed te houden op keuzes die worden gemaakt: "I want to see every, every visual effect. And I want to approve them."

Bruno Delbonnel: "Basically the movie is mine. It’s my light. It’s my frame. It’s my choice. It’s my taste. I don’t want nobody just to say ‘Okay we’re gonna put a 180’. I said: ‘I don’t like using a 180. I don’t like long lenses. I don’t want to work like that’. So, it’s not only about light. The whole image, it’s mine. Even on "Potter", where I was the DP. I discussed with the post-production supervisor, I said ‘I want to see every, every visual effect. And I want to approve them’. Because, there is a guy in Los Angeles doing the visual effect, who is basically a guy who listens to techno music every single minute. He doesn’t even understand what I’m doing. He doesn’t care. So he is going to ruin my works. I spent a year and a half on "Potter". And you have this one single man who can ruin everything. It’s my light. It’s my work. And I decide."

De samenwerking met zijn grader leverde Delbonnel dit jaar een oscar nominatie op (voor "Harry Potter and the halfblood prince")

Bruno Delbonnel (foto: Bart van Broekhoven)

Interviews NSC boek ism Richard van Oosterhout en Maarten van Rossem